CLASSICAL CONCERT SERIES: MOZART
THEATRE STAFF
Founder & Executive Director .. Jason Goedken
Founder & Artistic Consultant .. Whitney Morse
Artistic Director ........................... Angel Creeks
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SIGNIFICANT PRODUCTIONS BOARD
Goedken
WHITNEY MORSE on
The Sharon®
PERFORMING ARTS CENTER
Dear Patron of the Arts,
Welcome to The Sharon Performing Arts Center!
This year marks a very special milestone—10 years since The Sharon first opened its doors. What began in 2015 as a bold dream has grown into a vibrant home for live performance, rooted in the adventurous and artistic spirit of my grandmother, Sharon L. Morse.
Over the past decade, we’ve been honored to earn your trust, show by show, standing ovation by standing ovation. Whether you’re here tonight to experience a beloved Broadway tour, a favorite artist, or something entirely new, know that every performance has been thoughtfully curated by our passionate team of artists and arts administrators.
As we celebrate our first ten years, we’re also stepping into an exciting new chapter: The Sharon is now proudly powered by Significant Productions, a registered nonprofit dedicated to creating meaningful, memorable arts experiences in our community. With this new foundation, we’re not only preserving what makes The Sharon special, we’re building toward a future filled with bold ideas, diverse stories, and even more opportunities to surprise and delight you.
Thank you for being part of this journey. We’re so glad you’re here. Enjoy the show, and here’s to the next ten years of discovery, connection, and applause.
See You at The Sharon,
Whitney Morse
Founder & Artistic Consultant
Significant Productions
ART. ARTISTS. AUDIENCE.
SIGNIFICANT PRODUCTIONS (SIGPRO) is a Non-Profit arts organization that operates The Sharon Performing Arts Center & The SigPro Studio. OUR MISSION; SigPro cultivates a diverse collaborative community with a focus on artists' well-being that strives to provoke thought and spark conversation through high quality performing arts.
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We believe that fostering an inclusive and supportive workplace is essential for the creation of exceptional art. Our commitment to diversity, equity, and inclusion extends to our employees. This ensures every individual who contributes to our productions feels valued and empowered. We actively promote a workplace culture that embraces differences and encourages collaboration among our diverse team of artists, technicians, administrators, and volunteers.
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MESSAGE FROM THE MAESTRO
Dear Friends and Supporters,
Thank you for joining us this evening for this program entirely dedicated to Wolfgang Amadeus Mozart, a composer whose short life left 600 masterpieces to humanity.
The first part will feature a performance of the Clarinet Concerto in A major with extraordinary guest Stefano Bartoli, making his debut at The Sharon, and the return of our dear friend and supporter Antonio Pompa-Baldi, who will perform the Concerto No. 23 for Piano and Orchestra.
We will then perform one of Mozart’s most beautiful symphonies, Symphony No. 40 in G minor.
Your support and presence are essential for music and art, and it gives us all the confidence to be here and share our emotions and passion for music.
Thank you for your support, and don’t miss our upcoming concerts.
Maestro Pasquale Valerio Founder, Director, and Chair of The Villages Philharmonic Orchestra
W. A. Mozart
Clarinet Concerto in A major, K. 622
Stefano Bartoli, Clarinet
W. A. Mozart
Piano Concerto
No. 23 in A major K. 488
Antonio Pompa - Baldi, Piano
W. A. Mozart
Symphony N. 40 in G minor K.550
PROGRAM
PROGRAM NOTE
WOLFGANG AMADEUS MOZART
Clarinet Concerto in A major, K. 622 (1791)
Composed in 1791, the final year of Wolfgang Amadeus Mozart’s life, the Clarinet Concerto in A major, K. 622 stands as one of the most luminous achievements of the Classical concerto repertoire. Written for the Viennese clarinetist Anton Stadler, the work was conceived for the basset clarinet in A - an instrument with an extended lower register reaching written C. This expanded range enabled Mozart to draw upon the clarinet’s dark, velvety chalumeau register alongside its brighter upper tessitura, greatly enriching the expressive palette of the solo part. In modern performance practice, the concerto is frequently played on the standard A clarinet; this requires discreet adjustments to passages originally written for the basset clarinet’s extended lower range.
At the time, the clarinet was still relatively new to orchestral practice. Although Mozart had already demonstrated his affinity for the instrument in chamber works such as the Clarinet Quintet, K. 581, this concerto represents its fullest elevation to the status of lyrical protagonist. Rather than exploiting brilliance or overt virtuosity, Mozart emphasizes sustained cantabile lines, seamless legato phrasing, and a vocal quality that seems to transcend instrumental limitations.
The opening Allegro unfolds with characteristic clarity and poise. After an orchestral exposition of serene balance, the soloist enters not in opposition but in dialogue, extending and reshaping the thematic material. The movement’s elegance lies in proportion and transparency rather than dramatic contrast.
The Adagio, in D major, forms the emotional core of the concerto. Its suspended atmosphere and gently pulsing accompaniment support one of Mozart’s most serene melodies, unfolding with remarkable simplicity and inward intensity.
The concluding Rondo: Allegro restores animation with graceful charm. Its principal theme, light yet refined, is varied through subtle harmonic and textural shifts. The concerto closes with composure rather than display, embodying Mozart’s late style: music of technical mastery, expressive restraint, and radiant humanity.
Piano Concerto No. 23 in A major, K. 488 (1786)
The Piano Concerto No. 23 in A major, K. 488 belongs to the extraordinary series of piano concertos Mozart composed in Vienna during the mid-1780s, a period marked by intense creative productivity and formal experimentation. Written in 1786, the same year as Le nozze di Figaro, this concerto exemplifies Mozart’s mature approach to the genre, in which the relationship between soloist and orchestra is conceived as a continuous, flexible dialogue.
From the outset, the Allegro establishes a tone of luminous clarity and structural balance. The orchestral exposition introduces thematic material of notable elegance, characterized by symmetry and lightness rather than contrast. When the piano enters, it does not assert dominance but subtly reshapes and extends the musical
PROGRAM NOTE
discourse. Mozart avoids sharp opposition between solo and tutti, favoring instead a fluid interchange in which roles are constantly reassigned. The movement’s serenity is not static; it is animated by harmonic nuance and rhythmic vitality within a highly controlled framework.
The Adagio, set unusually in the remote key of F-sharp minor, provides a striking expressive contrast. This tonal choice alone marks the movement as exceptional within Mozart’s output. The music unfolds with a concentrated intensity that is inward rather than dramatic. Sparse orchestration and carefully spaced harmonies create an atmosphere of suspended tension, while the piano line articulates a discourse of restraint and introspection. The movement’s expressive force derives not from expansion, but from compression and harmonic daring.
The final Allegro assai restores brightness and motion through a dance-like rondo structure. Its themes are characterized by rhythmic buoyancy and melodic clarity, yet beneath the surface lies a sophisticated interplay of form and variation. The piano part is agile and articulate without becoming overtly virtuosic, reinforcing the concerto’s overall emphasis on musical intelligence over technical display.
Piano Concerto No. 23 stands as a model of Classical equilibrium: expressive range achieved through proportion, contrast integrated without disruption, and a conception of the concerto as shared musical reasoning rather than theatrical confrontation.
Symphony No. 40 in G minor, K. 550 (1788)
Composed in the summer of 1788, Symphony No. 40 in G minor belongs to the final symphonic trilogy (Nos. 39, 40, and 41) composed within a remarkably short span of time. There is no documentary evidence of immediate commission or performance, though Mozart prepared concert tickets for a planned casino series that may not have materialized.
The symphony represents one of only two Mozart symphonies in minor keys, both in G minor (the other being No. 25, K. 183 from 1773). The choice of G minor carries specific expressive connotations in Mozart’s language, often associated with tension, urgency, and emotional unrest. Yet the symphony does not rely on dramatic excess. Instead, it articulates its expressive character through rhythmic instability, chromatic inflection, and persistent motivic development.
The opening Molto allegro begins with a restless descending figure that creates immediate tension and forward motion. With no slow introduction, the music moves ahead with urgency and a sense of unresolved energy. The movement follows a sonata structure, with exposition, development, and recapitulation. Rather than relying on strong contrasts between themes, Mozart develops the main idea continuously, maintaining a feeling of agitation within the clarity of Classical form.
The Andante offers relative repose, though not true serenity. Subtle harmonic shading and a sense of underlying restraint temper its lyricism. The movement functions less
PROGRAM NOTE
as emotional relief than as a recalibration of tension, maintaining continuity with the symphony’s overall expressive trajectory.
The Menuetto departs decisively from courtly convention. Marked by strong accents and austere contours, it assumes an almost aggressive character, far removed from its dance origins. The contrasting Trio, in G major, provides momentary brightness, yet remains closely bound to the symphony’s prevailing tension.
The final Allegro assai resumes the urgency of the opening movement with even greater insistence. Its driving rhythms and tightly woven motivic writing push the symphony toward a conclusion that offers resolution in structural terms, but not emotional release.
Symphony No. 40 exemplifies Mozart’s ability to expand the expressive potential of the Classical symphony without abandoning formal discipline. Its enduring power lies in the tension between emotional intensity and compositional control - a balance that remains central to its modern reception.
Lorenzo Fiorito
MAESTRO
PASQUALE VALERIO, MAESTRO
Pasquale Valerio is an internationally acclaimed orchestral conductor. In 2004, he founded The Villages Philharmonic Orchestra, serving as its Music Director and leading performances and tours throughout Florida and internationally. He is also the founder of the Lake Sumter Chamber Orchestra and served as co-founder and conductor of the Florida Lakes Symphony from 2005 to 2006.
Maestro Valerio has collaborated with numerous distinguished European orchestras, including the Philharmonic Orchestra ‘900 of the Teatro Regio Opera in Turin, the Philharmonic Orchestra of Prague, the Virtuosi of the Accademia Nazionale di Santa Cecilia, the Virtuosi of the Philharmonic of Bacau, and the “A. Scarlatti” Symphony Orchestra of Naples. In 2006, he assisted Sir Antonio Pappano, Music Director of the Royal Opera House in London. This significant collaboration deeply influenced Maestro Valerio’s artistic development and conducting philosophy. From 2007 to 2009, he collaborated with the Viotti Music Festival in Vercelli, Italy. In May 2018, he began an ongoing relationship as Guest Conductor with the North California Music Festival.
Born in Naples, Italy, into a family rooted in strong cultural and religious traditions, Maestro Valerio demonstrated an early passion for music. He began formal musical studies at age ten with piano and, at thirteen, pursued trumpet studies. During this formative period, he met Maestro Filippo Veniero, who became an important mentor in his musical development.
He studied trumpet at the Bari Conservatory under Maestro Francesco Lentini, earning his intermediate diploma, and later completed his advanced studies under Maestro Diego Benedusi. After completing his formal training, he performed as a trumpeter with major opera and symphonic institutions, including the Teatro di San Carlo in Naples and other prominent orchestras. Concurrently, he pursued studies in Composition and Score Reading under Maestro Filippo Veniero.
In 1998, following influential encounters with American conductors J. Withney and Gunther Smidth, Maestro Valerio resumed advanced conducting studies. A pivotal moment in his career came in 1999 when he met renowned conductor Anton Coppola, who became his mentor and artistic guide.
Maestro Valerio is a frequent guest conductor and collaborator at international festivals and competitions, including the International Piano Competition “F. Schubert” in San Cristoforo, the Bacau Philharmonic Virtuosi (Romania), the Viotti Music Festival, Camerata Ducale (Italy), the Piano Festival of Carrara and Arezzo, Orchestra 900 of Teatro Regio in Turin, Oída Symphony Orchestra (Arezzo), the Philharmonic Orchestra of Benevento, New Orchestra Scarlatti, and Florida Philharmonia.
In the 2023 academic year, he was appointed Visiting Professor of Conducting Studies at the London Performing Arts Academy. Later that year, he was named to the Honor Roll of the ALTAMURA MERCADANTE FEST.
FEATURED ARTISTS
ANTONIO POMPA-BALDI
Born and raised in Foggia, Italy, Antonio Pompa-Baldi won the Cleveland International Piano Competition in 1999 and embarked on a multifaceted career that continues to extend across five continents.
A top prize winner at the 1998 Marguerite Long-Jacques Thibaud Competition of Paris, France, Antonio Pompa-Baldi also won a silver medal at the 2001 Van Cliburn International Piano Competition.
With a concerto repertoire including more than 60 works, Mr. Pompa-Baldi regularly performs cycles of all the Rachmaninoff Piano Concertos, the five Beethoven Piano Concertos, both Brahms Concertos and many other established masterpieces of the piano literature, while also championing neglected or lesser-known repertoire, with leading orchestras around the world.
Mr. Pompa-Baldi appears at major concert venues including New York’s Carnegie Hall, Cleveland’s Severance Hall, Milan’s Sala Verdi, Boston’s Symphony Hall, Shanghai’s Grand Theatre, and Paris’ Salle Pleyel, to name a few. He has collaborated with conductors including Hans Graf, Krzysztof Urbánski, James Conlon, Miguel Harth-Bedoya, Theodore Kuchar, Benjamin Zander, Louis Lane, and Keith Lockhart. He has performed with ensembles and colleagues such as Takacs String Quartet, trumpeter Alison Balsom, cellist Sharon Robinson, violinists Ivan Zenaty and Ilya Kaler, and principals of the Cleveland Orchestra, Dallas Symphony, New York Philharmonic, and Juilliard Quartet.
Among the many stops on his tours, he performed in Vienna (Austria), London (UK), Paris (France), New York (USA), Auckland (New Zealand), Jerusalem (Israel), Kiev (Ukraine), Cape Town (South Africa), Poland, Germany, Mexico, Canada, Spain, and many other places around the globe.
In China alone, Pompa-Baldi has toured extensively in the most prestigious venues of Beijing, Shanghai, Guangzhou, and all the other major cities, and is a regular returning guest at the Lang Lang piano festivals of Shenzhen and Hangzhou.
Mr. Pompa-Baldi has recorded 35 CDs to date, for various labels including Centaur Records, Harmonia Mundi, Steinway, TwoPianists, Azica, and Brilliant Classics. Among them, the complete piano and chamber music works of Grieg, the Josef Rheinberger Piano Sonatas, the complete Hummel Piano Sonatas, and CDs dedicated to Brahms, Schumann, Liszt, Respighi, and Rachmaninoff.
For the Steinway label, Pompa-Baldi recorded songs by Francis Poulenc and Edith Piaf, arranged for solo piano, as well as a CD titled “Napoli”, which features new piano versions of famous Neapolitan songs, elaborated by Roberto Piana.
Among his latest releases are his transcription for solo piano of the Respighi B minor Violin Sonata, and Suites by Debussy, Luca Moscardi and Barber for piano duo. Recorded with his wife, pianist Emanuela Friscioni, this latest album was published
FEATURED ARTISTS
with the title “Suite Nothings” by the Steinway label.
Antonio Pompa-Baldi is a Steinway Artist. He is also a Steinway Recording Artist, as well as one of the most prominently featured artists in the Spirio recording catalogue. He is often invited to judge international piano competitions such as the Cleveland, Hilton Head, E-Competition (Minneapolis), BNDES Rio de Janeiro, Chopin USA (Miami) and Edward Grieg (Bergen), among many others. He serves as president of the jury and artistic advisor for the San Jose International Piano Competition since 2005.
Pompa-Baldi is on the Piano Faculty of the Cleveland Institute of Music, where he is also Head of the Piano Department. His students have been prizewinners in important competitions such as Marguerite Long, Hilton Head, Isang Yun, and Gina Bachauer. He is regularly invited to teach masterclasses in countless Universities, Music Schools, and Festivals in the US and all over the world, and is honorary professor at various institutions including the Beijing China Conservatory, and the Shenyang Conservatory of Music.
Pompa-Baldi is Founder and Artistic Director of Todi International Music Masters. This summer festival takes place every August in the beautiful Italian town of Todi. It features 15 concerts in 15 evenings, with internationally renown guest artists as faculty members, and students from all over the world.
STAFANO BARTOLI
He began very young his studies at the music school of his country in Tuscany (Figline Valdarno), after he graduated brilliantly at “P. Mascagni” Institute of Livorno with Giovanni Riccucci. He take part in various master classes with Karl Leister (the best in his class in 1998 at the Amici della Musica of Florence) and Anthony Pay in the years 1994 and 1997 (scholarship holder at the Accademia Chigiana of Siena). After he begins a new course of study with Walter Seyfarth (Berliner Philharmoniker) and Gerald Pachinger (Wiener Symphoniker).
In 1999 he is called by Claudio Abbado to play as first clarinet in the Gustav Mahler Jugend Orkester for two years, during which with this the orchestra he participated in the Italian tours and he recorded, in live concert in Bolzano, the Schubert’s Octet, for the Gustav Mahler Stiftung Foundation directed by Alfred Prinz (historical clarinetist of the Vienna Philharmonic Orchestra).
Orchestras Experiences: After many victories and suitabilities in contests organized by various Italian and foreign musical institutions, he collaborated with the Italian Youth Orchestra ( solo Cl), Gustav Mahler Jugend Orkester ( solo CL), Orchestra Regionale Toscana (solo Cl) , Orchestra de Maggio Musicale Fiorentino (clarinet section), Teatro SanCarlo (position he still holds firmly like E flat clarinet), City of Birmingham Orchestra CBSO (solo-section leader), Orquestra Sinfonica Brasileira OSB, participating as first solo-clarinet in the 2011-2012, Santa Cecilia National
Academy Orchestra in 2013 (E flat clarinet).
FEATURED ARTISTS
October 20, 2013, on the occasion of the 50th Anniversary of the hall of the Philharmonie, he was invited to play with the Berliner Philharmonic Orchestra directed by Sir Simon Rattle.
Chamber Music: He is very active in chamber music, that led him to collaborate with international musicians like Karl Leister, Wenzel Fuchs, Walter Seyfarth, Mor Biron and others Italian musician like Gabriele Pieranunzi, Pierluigi Sanarica, Raffaele Mallozzi, Monica Leone, Francesco Nicolosi…..in festivals, theaters and important concert all.
Finally he is the founder of the Ensemble “Quintetto Nuovo” recording Mozart and Brahms clarinet quintets .
Teacher Experiences: Privat Lessons , AEMAS European Academy Music and Arts in Napoli from 2016 to 2020, Conservatory in Cagliari 2024, Master Classes in Florence Conservatory ( 2023) and Conservatory in Napoli (2014).
ORCHESTRA ROSTER
FLUTE
Nicolas Real, Principal
Geraldine Barazarte
OBOE
Amy Collins, Principal
Chanmi Kim
CLARINET
Jason Gibbs, Principal
Dominique Keller
BASSOON
Christian Eberle, Principal
Brianna Pols
FRENCH HORN
Joseph Lewinsky, Principal
Dann O’Donnell
FIRST VIOLIN
Evgeny Komarnitskiy, Concertmaster
Stewart Kitts
Marius Tabacila
Jose Guédez
David Qi
Scott Knopf
Baoling Xu
Elena Komarnitskaia
Carlos Jaquez
SECOND VIOLIN
Gregory Carreño, Principal
Elizabeth Kitts
Luisamar Navarro
Ivette Ferreira
Marialejandra Vásquez
Yenifer Laurens
Daniel Herrera
VIOLA
Richard Urbano, Principal
Juan Carlos Siviero
Oana Potur
Aine Munn
Andrea Oliveira
Maria Victoria Albornoz
CELLO
David Calhoun, Principal
Olga Beliaieva
Helen Lewis
Roy Garcia
DOUBLE BASS
Kevin Gallagher, Principal
John Di Mura
Jonathan Ingram
26 27 SEASON
SEP 6 - MAY 15
MARCH 25 // SUBSCRIPTION RENEWALS WITH NO CHANGES APRIL 15 // SUBSCRIPTION RENEWALS WITH CHANGES MAY 6 // NEW SUBSCRIPTIONS & INDIVIDUAL TICKETS ON SALE
PURCHASE AT LEAST 4 SHOWS & GET 10% OFF* PURCHASE ALL 9 SHOWS & GET 15% OFF
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WED, JAN 27, 7PM ...........................................................................CLASSICAL CONCERT
SAT, FEB 13, 7PM ......................................... AMERICAN MUSIC: CELEBRATION OF LOVE
TUE, MAR 9, 7PM .............................................................................CLASSICAL CONCERT
THUR, APR 1, 7PM ............................................................................CLASSICAL CONCERT
SAT, MAY 15, 7PM .......................... OPERA GALA: MAGIC MOMENTS OF OPERA SCENES *Black-out date for this subscription is the September Labor Day Celebration Pops Concert. Purchase at least four concerts excluding the September Concert to receive 10% off your order.
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